These are the films from this millennium that have most shocked us by plumbing our deepest primordial terrors. Yeah, I totally agree with that. Burt pounds on the camera lens itself by the end, as if he wanted to bust out of Autumn Leaves. Our conversation covered what the documentary might have looked like without Fox Rich’s video archives, why she didn’t feel the need to explain racism in the film, as well as how the forces of collaboration and intuition inform her filmmaking process. Bowen, Enter to Win DVDs of The Great, a Blu-ray of Back to the Future: Ultimate Trilogy, and More, Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way Soon, Review: Shithouse Warmly Grapples with the Nostalgia That Never Was, We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal. The unspoken rules that she keeps breaking—asking the wrong questions, venturing into the wrong rooms, studying a menu incorrectly—all seem to lead back to the same source: Manderley is still in the ghostly grip of Max’s recently deceased wife, Rebecca. Shithouse recalls the best of Richard Linklater, not only because Raiff already proves his adeptness at mastering the director’s trademark “walk and talk” two-shots. The myth of Joan Crawford’s life and career is inseparable from what she did on screen. We learn that she’s an aspiring writer who’s empowered by Sandeep’s money to quit her job and resume work on a book, yet that’s all we get on that front. Are you someone who needs to parse the events of your life through art, writing, or creating something to feel some sense of closure or finality in the experiencing of it? But Us also moves past such racial themes. I think it goes back to this idea of the sort of cinematic challenge of trying to allow things to feel as they do in the real world. I’ve had a lot of Zoom meetings. That was me really having questions about classic American cinema and race relations between women. While staying in a posh resort on the French Riviera, an unnamed young woman (Lily James) working as traveling companion for acid-tongued, man-hunting dowager Mrs. Van Hopper (Ann Dowd), is romanced by dashing and recently widowed aristocrat Max de Winter (Armie Hammer). Danny's death is presumed an accident, and Ellen feigns sympathy. During most of these programs, where Isaac Stern does John Garfield’s violin playing for him, we’re left to look at Crawford’s enraptured, sometimes sexual, always nakedly emotional reactions to her beloved’s playing (she even gives her program a hand-job while she stares at him). Stahl uses dissolves for this dream work, of course, but he also takes a big chance by fading to black after an important episode and holding the black out for a beat or two, as if our eyes were involuntarily closing in sleep every once in a while. Heady though it is, the film also more than delivers the genre goods. (The film shows Fisk’s reliance on translators and guides but doesn’t explain where he gets them, as Chang is more interested in Fisk’s life and ideas than the practicalities of his work.). That’s what we live in. Dillard, Quite a bit of the fun of The Hole in the Ground resides in guessing how Lee Cronin’s shopworn signifiers fit together, as he offers a smorgasbord of portentous elements that include a crone by the roadside, the aforementioned hole and the woods, a pointed reference to Sarah’s (Seána Kerslake) medication, and Chris’s (James Quinn Markey) newfound sense of inhuman formality. But Chang makes a strong case that Fisk’s approach is more reliable than that of journalists whose method privileges deflection and distortion. It wasn’t a stretch to figure out how I was going to film Shithouse, because even if I direct a ton of movies moving forward, I like coming from this place of always just caring about these characters and themes that are coming from these characters. Nu verkrijgbaar op dvd: een waanzinnige Gene Tierney-vehikel uit 1945, een nihilistische film noir vermomd als Technicolor melodrama. Less social critique than abstract deconstruction, Kleber Mendonca Filho’s Neighboring Sounds is very much about the power of the cinema not to deliver, but to portend, and to that end its gears are always turning. Bowen, 28 Weeks Later rolls in like a poisonous dust cloud of nihilism. There’s no separation between that and the system. I think it really informs who I am because I’m spending all day just thinking about other people and getting their interior lives. “We’re Americans!” his wife’s double (Lupita Nyong’o) hisses. I don’t feel like Alex at all. Twilight Time does it again with the release of the 1945 melodrama/film noir Leave Her to Heaven. The fact is, however, that this picture would be little more congenial at any time, for it is plainly a piece of cheap fiction done up in Technicolor and expensive sets. Vincent Price, as the discarded lover, gives a theatrical reading to the courtroom scenes as the district attorney. At a court trial, which occupies the film’s last and weakest reel, Richard is acquitted of Ellen’s murder, though he is convicted as an accessory to her crimes as he had failed to report her criminal negligence. How do you convey such a radical notion without coming across naïve? But you’re right, ultimately, there’s always going to be for me a conversation between the two. Ed Gonzalez, Santa is one bad mamma jamma in Writer-director Jalmari Helander’s Rare Exports: A Christmas Tale, a yuletide fable that’s equal parts sincere, silly, and scary. All along, she feels threatened by the presence of her kind and sensitive adopted sister, Ruth (Jeanne Crain), to whom Richard dedicates his book. The film uses the framing device of a flashback, which informs the audience about a personal tragedy inflicted upon a writer called Richard Harland (Cornel Wilde), who has served two years in prison. Crawford was sometimes cast as society girls, but usually her characters started out in a factory or a department store or a kitchen. [9], Principal photography of Leave Her to Heaven took place between May and August 1945. Steven Scaife, Jordan Peele’s Us suggests C.H.U.D. In Us, Peele is less concerned with blackness than he is economics, as the howling, homicidal doubles that torment the Wilsons represent an avenging under class. "[9], A subsequent draft submitted to the PCA in February 1945 was disapproved as it overtly implied that Richard and Ellen had engaged in a illicit sexual affair before their marriage. Not accustomed to “adulting,” the speech of his 18-to-20-year-olds is peppered with naked observations and frank questions. Raiff and Gelula have a seemingly effortless chemistry, containing more of the warmth of friendship than the heat of romance, that sells the idea that the fast bond that develops between the two over the course of a single night (and roughly 40-minute second act) could actually be lasting. The two spend a night together, wandering the deserted grounds of campus after they both attend and bail on a frat party at “Shithouse” (the origins of its name are never clarified but you can guess). Tom’s defining characteristic consists of his absolute lack of irony; in contrast to the jaded men of the Boston F.B.I. But why, at that moment, I can’t say. A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl’s best-known film. Obsessive in her jealousy and refusing to “share” Richard’s love with anyone, Ellen begins to devise malicious plans to keep Danny, and anyone else who might interfere, out of sight. However, perhaps because she’s reacting to someone else’s pain for a change, her narcissism doesn’t hold her back. JOHN M. STAHL US, 1945, 35mm, VO ST FR & NL OND, 110' Romanschrijver Richard trouwt halsoverkop met de beeldschone Ellen. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality.
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